PROCEEDINGS | Scientific Symposium
A logical question arises of how the authorities allow the developer to change the architectural appearance of their projects as they are implemented . But it turns out that according to the law , architects simply do not have such powers and can only look from the outside at the outrage .
I would like to believe that such examples will no longer be repeated in the architectural practice of not only Saratov , but anywhere else
Yes , there are rules in the architecture of classicism . And it is important not only to “ know ” them , but also to own them . In modern architecture , I would like to note the work ( Figure 8 ) of Dmitry Barkhin , a Moscow architect who , in his projects , illustrates the competent possession of classical forms . Among his buildings are an office building on Bolshaya Pochtovaya , the Tupolev Plaza , Vereiskaya Plaza , Baker Plaza , and many country house projects , including the Elagin Palace suburban mansion .
Fig . 7 - Office building on Bolshaya Pochtovaya , 2005 . Architect Dmitry Barkhin
It is difficult to single out one of his projects . They are all executed at a high professional level , with strict adherence to the forms and canons of Palladio . The architect is in constant dialogue with it . Here is how the author himself describes the work on one of his projects - the office building on Bolshaya Pochtovaya : “ The house on Pochtovaya is a long conversation about the Small Trianon . Starov has this topic , Bazhenov has it in the guard rooms of Mikhailovsky Castle . And the meander belt “ arrived ” from Verona , there is one church where three-quarter pilasters cut a flat meander . The edicules are from the Palazzo Tiene , and they are life-size . and I decided to make four - like a palladian drawings of balusters ! The balusters on the attic were taken from the Palladio Basilica in Vicenza . And the bases of the columns are antique . Because there are a lot of classical bases in Moscow , it ’ s boring ... But I wanted to make not a simple classical base , but an amazing one , to show it to the audience ”
InConclusion , I want to say that it is undeniable that , despite the remoteness from the capital , the traditions of classicism were strong in the architecture of Saratov at the turn of the 19-20 centuries , with its powerful regional aspects , and the architectural structures themselves could well compete with the capital ’ s architecture in “ literacy stylistic decisions .” However , after 100 years , the situation has changed dramatically . And the architecture of Saratov of the last decade has seen a clear trend of stylistic degradation , reflected in the distorted interpretation of the classical “ Palladian ” canons . As a result , modern architecture is rather a miserable parody of the classics .
This situation is characteristic of many provincial cities , which becomes even more noticeable against the background of a high-quality and competent interpretation of classical canons in modern metropolitan architecture .
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